De Beers, Your Desperateness Is Showing: What Happens When Western Luxury Meets Indian Sentiment – and Misses the Mark!!

Yesterday was Friendship Day, and very soon it’ll be Raksha Bandhan – that ever-resonant Indian celebration of love between brothers and sisters. Festivals like these are sacred, emotional... and yes, highly monetizable. And as always, brands want to climb onto the gravy train – chasing eyeballs, engagement, and, of course, money moolah. Fogg tried the brother-sister track for the first time. But not to be left behind, the elephant in the diamond room – De Beers – made its move too.

Nostalgia or Strategy?

Yesterday, De Beers unveiled its “Best from Bestie” campaign – in vintage black-and-white sepia tones, aiming to tap into the nostalgia of old-school friendship. But look closer, and you’ll see the play is deeper.

DeBeers tried it all. Gifting a diamond on the birth of a baby, Daughter getting a diamond from her  Father, Lovers for ever strategy and even a daring I, Me myself tack where a woman can gift herself a diamond! 

De Beers has long tried to crack the Indian market, but with limited success. India remains gold-obsessed, and De Beers’ "diamond forever" proposition hasn’t quite struck gold. Their previous “father-daughter gifting” angle fizzled – mostly because, let’s face it, in Indian households, gifting control lies with the mother. Dad is just a debit card. Or now, a UPI app.

So what next? Shift the lens. Enter: friendship day meets Raksha Bandhan gifting – with a 35+ women-centric campaign that walks a very thin line between intimate friendship and coded lesbian overtones.

Target Missed?

Of course, the LGBTQ+ audience might feel seen – and that’s a win. But what about the general consumer? The average Indian family watching ETV Win – a bastion of traditional entertainment – is left confused or worse, alienated. And then there’s the Western couple shown in the campaign. Aspirational? Possibly. Relevant to Indian gifting dynamics? That’s debatable.

The question isn’t whether the campaign is inclusive or bold. The real question is: Who is it for? Why push a message that doesn’t align with the behaviors, beliefs, or spending patterns of the core consumer base?

Final Thought

Some might accuse me of reading too much into an ad. But isn't that what an academician, researcher and a marketing blogger is supposed to do? Ask the uncomfortable questions, open the debate, and push brands to think deeper than surface-level sentiment? Because nostalgia may sell, but misplaced messaging? That’s a harder gem to polish.

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Fogg Neu: A Fresh Whiff in the World of Dodgy Perfume Ads - When “Shot liya kya?” gives way to “Where is the canteen, sister?”

 

Perfume ads have always walked the thin line between suggestive and downright sleazy. Traditionally, they tend to rely heavily on stereotypical tropes: the hyper-masculine man, the swooning women, and the metaphorical (sometimes literal) tearing of clothes – all to sell a bottle of scent.

Remember the infamous Axe Chocolate ad? Women clawing at a man made of chocolate like a survival instinct kicked in. That ad wasn’t just cringeworthy – it was the gold standard of objectification wrapped in "humour".

Then came Layer’s Shot with its now-banned "Shot Liya kya?" campaign – which was widely condemned for its disturbing tone, raising serious questions about ethics in advertising.

Enter Fogg Neu – And It Actually Smells... Different.

In this context, the new campaign for Fogg Neu is, quite literally, a breath of fresh air. The ad flips the old perfume narrative completely. Here's the scene:

A couple of young girls are seated in a library, immersed in study. A young man approaches and politely asks, “Where is the canteen... SISTER?” The girls exchange a look, shocked but amused. That’s it. No slow-motion hair flips. No predatory posturing. No innuendo. Just a small, clever twist. And that’s what makes it work.

Rewriting the Rules of Attraction

The ad smartly ties back to the product name: "Neu" – the new way to be. It tells us that friendship and human interaction need not always be framed through the lens of flirtation or romance. Sometimes, being respectful is enough to stand out.

In a world that’s still hyper-marketed to Gen Z and emerging Gen Alpha audiences, this one gets it right. It acknowledges a cultural shift – where ‘cool’ doesn’t have to mean ‘creepy’.

Final Take

Fogg Neu doesn’t just sell a fragrance – it sells a mindset. One where ‘bro’ culture evolves into something more respectful and nuanced. Where being decent is… attractive. Like Gen Alpha might quip: “Good one, bro.”

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Aamir Khan’s OTT Stand on Sitaare Zameen Par: A Brave Call or a Misguided One?

 

Aamir Khan recently stirred the pot with his announcement: Hindi movies should not be released on OTT platforms for at least six months after their theatrical release. Bold move, Aamir — but perhaps it's time to come down from the high horse.

Let’s be clear: if your content is good, audiences will show up at the theatres. You don’t need to impose artificial delays or windows. And let’s not forget, you can’t force people to consume content a certain way — be it in theatres or on streaming platforms. Audiences have choices now, and they’re using them.

Let’s take a quick reality check. Movies like Laal Singh Chaddha and Agent bombed at the box office — and later failed to spark interest even on OTT. No amount of release window manipulation can fix weak storytelling or lackluster content. On the flip side, Lapataa Ladies, produced by Aamir’s ex-wife Kiran Rao, found critical and popular acclaim only because of its release on OTT. It likely wouldn’t have made a dent in theatres.

OTT platforms have become an integral part of how audiences consume content. Trying to delay or deny access isn’t going to reverse that trend — it only risks alienating the very viewers who might have watched your film from the comfort of their homes. And let’s face it, Aamir: there’s no shortage of content. There are thousands of movies and shows available across platforms, and nobody is sitting around waiting for a film that’s stuck in a six-month theatrical limbo.

Even within the Hindi film industry, such a rigid model won’t hold. There will always be producers who choose to break the six-month embargo and go for quicker OTT releases — especially if it means recovering their investment. Down South, the model is already leaner. The OTT window is often just one month.

Take Thug Life, for instance — a case worth examining. Amazon reportedly agreed to a two-month OTT window. But the movie still flopped. Kamal Haasan and Mani Ratnam, recognizing the sinking ship, opted for an even quicker OTT release. Amazon complied — with a ₹25 crore cut. Business decisions always trump idealistic notions.

So, here’s the takeaway: OTT is not the enemy — it’s the reality. Those of us with home theatres and high-quality viewing setups won’t be swayed by a longer wait time. If you want us in cinemas, make grand, compelling, cinematic experiences that pull us in. Otherwise, it's Tata, goodbye.

Aamir, we appreciate the conviction — but practicality matters. Let your next film prove your point, not your pronouncements.

The Indian movie screen's Empty Promise: How Movie Merchandise can provide a Blockbuster Makeover!! - The Million Readers landmark special post!!

Creativity has literally hit rock bottom in many fields. The modern technology, especially AI, is proving to be too much of a convenience. Anyone can be a creator, and simply pushing buttons on a mobile device or laptop is sufficient.

Take, for instance, the recent publicity and promotion of two Telugu films. Most of social media was full of hurried interviews with the directors and producers of the films, Kubera and Kannappa. All the interviews were the same - sycophancy-driven, and it was clear from minute one that it was all paid for, with only one agenda: provide as much plug for the film as possible. Some of these interviews are terribly long, over an hour, and they expect the viewers to sit through the torture.

And then there are the film preview functions, as they are called. They are usually conducted in places like Shilpa Kala Vedika, and hundreds or even thousands of movie-star-hungry people turn up. All the functions would have the same anchor, Suma, and then the show starts. Everyone on the stage gets overboard in praising the hero and producer, and sometimes the director.

The speeches are long and boring. Then there are people like Brahmanandam, who are obviously paid to come to such shows. He ends up saying, "Manchu Vishnu is the most handsome actor in India/world." I really don’t know who watches the pre-release shows till the end. They are pathetic, to say the least. And, of course, a lot of emotional blackmail is also on offer. One actor went on to say that anyone saying anything bad about the film Kannappa would face the wrath of Lord Shiva himself. This really takes the cake.

Have these filmmakers taken one step back and checked what they are doing? Except for a movie like Pushpa 2, movies rarely don’t create a hype beyond a week. Even movies like Thug life featuring Kamalhasan and helmed by Mani Ratnam lasted only 2-3 days in the theatres. Most movies run out of gas within a week.

So, what needs to be done? Examples are galore! McDonald's offers a Happy Meal in India, which typically costs around Rs. 223. This includes a burger, fries, a drink, and a small toy. The “toy” is what pulls the child to McDonald's, and the helpless parents tag along. The child plays with the toy, and the parents end up eating the burger, fries, and the cold drink.

So, how to make the audience come back to the theatre? Enrich the watching experience. Create an event that they would treasure. The contentious point is the interval. Most of the audience would like to go out and have a snack, a pair of samosas, a small packet of popcorn, or indulge in a cold drink.

This is where the crunch comes in: the popcorn is priced at maybe twice the cost of the movie ticket. And what is the intrinsic value of the popcorn? Nothing. This is where the U.S. movie ecosystem is at least 20 years ahead of India.

In the USA, the popcorn bucket has become an iconic cultural item, and in many cases, the co-branded popcorn buckets have become collectibles that sell for four times the cost of the initial price. For example, a branded popcorn bucket with film merchandise would typically sell for 50 dollars (around 4,000 rupees). This includes 25 dollars of popcorn with unlimited refills. The popcorn buckets have become collectibles, and many resellers sell them on the internet.

Why can’t Indian filmmakers follow the same practice? Only Pushpa 2 did try this out on the U.S. market, but compared to the U.S. movie popcorn buckets, the Pushpa 2 popcorn bucket was a no-brainer.

Filmmakers would immediately say that there is a cost involved. No doubt at all. Can’t we create a popcorn bucket that can become a stylish hat that can be worn for a day? Like the ones offered in cricket stadiums as protection against the sun.

Why can’t we think of small paper containers that can hold the samosas? Why can’t we think of small metal button pins that would quickly become collectibles? Way back in the '70s and '80s, movie songbooks were sold at 10 paisa. These were hugely popular. Nowadays, no one does anything like that.

Why can't we do campaigns in the print media? Kannappa could have done a pullout that shapes out like a Shiva temple with the title Kannappa. There is no limit to trying to create buzz. Sadly, filmmakers don’t create buzz anymore. They are totally dependent on reviews that may or may not be in their favour. And paid promotions never work. It is always only good word of mouth that pays off. But buzz and excitement can be created.

Why can’t the Indian filmmakers do the following?

Here is a list of low-cost, innovative movie merchandise ideas for Indian cinema hall cafeterias, designed to be relevant to local snacks and culture:

1) Branded Samosa Boxes: Instead of a generic paper plate, serve samosas in small, branded cardboard boxes. These boxes can feature:

• Movie posters or character art from the film being shown.
• Movie trivia questions or dialogues inside the lid.
• A simple QR code that links to the movie's trailer, a special message from the cast, or a contest.

2) "Chutney" Pouches: Provide small, branded pouches or sachets of chutney (tamarind, mint) with the movie's logo.

3) "Samosa Cone" Wrappers: Use paper wrappers shaped like cones for easy holding, printed with movie-themed graphics and catchy taglines.

4) Cold Drinks:

• Collectible Movie Cups: These are already a hit internationally and can be adapted for the Indian market. Use simple, durable plastic cups with a movie's key art. These become a low-cost souvenir that fans can take home.
• Character-themed Straw Toppers: A simple plastic topper on the straw, featuring a miniature character head or a film logo.
• Color-Changing Cups: A fun, low-tech gimmick where the cup changes color when a cold drink is poured into it, revealing a hidden movie poster or character.

5) Popcorn:

• Themed Popcorn Tubs: Instead of the generic red-and-white striped tub, use tubs with a simple print of the movie poster. For a "Thalaivar (Rajanikanth)" movie, the tub could have a stylized image of the superstar.
• Popcorn Cones: For a single serving, use paper cones with movie branding. This is cheaper than a full tub and still offers a collectible.
• Collectible Popcorn Toppers: A simple plastic figurine that clips onto the popcorn tub.
• "Dialogue" Popcorn Bags: Print popular dialogues from the film on the paper popcorn bags. For example, a "Don" movie could have "Don ko pakadna mushkil hi nahi, namumkin hai" printed on it.

6) Combo & Tray Packaging:

• "Movie Meal" Trays: Create simple cardboard trays with compartments for a samosa, a cold drink, and popcorn. The tray itself is the merchandise, branded with the movie's title and key artwork.
• Branded Carry Bags: Use simple paper bags for takeaways, printed with movie posters or social media handles for the film.

7) Other Low-Cost Items:

• Dialogue-Printed Napkins: Use napkins with a classic movie dialogue or a funny line from the film.
• Stickers & Tattoos: Give away small, temporary tattoos or stickers with every snack combo purchase.
• Branded Tray Liners: The paper liner placed on the tray can be a low-cost promotional item, printed with movie facts, a game, or a scene from the film

Examples of Popcorn holders that have become collectibles 

 

Dune Part 2 – Popcorn holder selling at 85 dollars on eBay!

Captain America Popcorn shield

Captain America Cups

Alien Romulus Popcorn bucket

Terrifier Art of the clown Popcorn Bucket.

Despicable ME4 - Baby Popcirn Carrier 

Lord of the Rings - 27 Inch War Hammer Replica 

Gladiator Popcorn bucket!

Disney inside out!

Disney Inside out 

Disney RS-D2 star wars, two in one Soft drink and popcorn bucket!

Deadpool - Head spaced Popcorn bucket 

Deadpool - Wolverine Popcorn bucket  

Batman Signal Popcorn bucket!

Batman Signal Popcorn Holder 

Pushpa's other Pathetic attempt at popcorn branding 

Jaws  popcorn holder 

Chucky 

Minecraft - TNT 

Kungfu Panda!

Ant man and the wasp

Guardians of the galaxy

Keywords:  Movie Merchandising Innovation, Branded Snack Packaging, Collectible Popcorn Buckets, Indian Cinema Concessions, Engaging Theater Experiences, Low-Cost Film Merchandise, Promotional Snack Campaigns, Movie Popcorn, Samosa & Cold Drink Cups, Social Media Buzz Boosters, Film‑Themed Tray Liners, Interactive Interval Content, Collectible Cups & Straw Toppers, Movie-Themed Trinkets, QR Code Snack Boxes, Local Snack Concession Design, Bollywood / Tollywood Merch Strategy, Experiential Movie Marketing, Snack Combo Souvenirs, Fan-Centric Theater Merch, Repeat Audience Engagement.